A SCHOLARLY BOOK REPOSITORY
"A timely and significant supplement to C. P. Cavafy's poetic canon, the Selected Prose Works, eloquently translated and meticulously annotated by Peter Jeffreys, allows readers yet another creative engagement with the greatest Greek writer since antiquity. Marked by a wide and intriguing range of interests, these writings offer a rich trove for general readers and scholars alike, who from now on will find it difficult to discuss Cavafy's poetry without reference to his prose."
---Vassilis Lambropoulos, C. P. Cavafy Professor of Modern Greek, University of Michigan
"Peter Jeffreys gives us a rare gift---access to Constantine Cavafy's prose work. Through his intelligent translation, these texts, which range from literary criticism to personal notes, from essays on the Greek language to the Parthenon marbles, offer unexpected entry into the mind of one of the twentieth century's greatest literary figures. They suggest new ways to think about not only Cavafy's remarkable poetry but also the man himself. An indispensable companion for all who love Cavafy's work."
---Gregory Jusdanis, The Ohio State University
"Once you've felt his influence, you won't need telling that Cavafy is unique in his distinctive voice, his quiet humor, and his unassertive culture."
---Frank Kermode, Formerly Lord Northcliffe Professor of Modern English Literature at University College, London, and King Edward VII Professor of English Literature, University of Cambridge
Constantine Cavafy (1863–1933) is arguably the most important modern poet of Greece and Greek culture. Long a resident of Egypt and then Constantinople, Cavafy in his poems and prose works tended to focus on Greco-Roman antiquity, on Greece's national identity, and on personal and mythological images and themes including his ethnicity and sexual identity. He wrote some 150 poems, plus a few works in collaboration with his brother John.
His poetical works have been much translated and discussed, but until now, very little consideration has been given to his prose works, in part because many remained untranslated from the original Greek. This book collects Cavafy's more interesting prose pieces and translates those that originally appeared in Greek.
Of the forty pieces included, only thirteen have previously appeared in print, and of those thirteen only a few were in English. The pieces include essays, "prose poems," short stories, self-assessments, and considerations of other poets, including John Keats. This significant new collection offers a different perspective on the well-known Cavafy.
Peter Jeffreys, Assistant Professor of English at Suffolk University in Boston, received a Doctorate in English Literature from the University of Toronto. He is the author of Eastern Questions: Hellenism and Orientalism in the Writings of E.M. Forster and C.P. Cavafy and the editor of The Forster-Cavafy Letters: Friends at a Slight Angle. He is currently working on a bio-critical study of C. P. Cavafy and the decadent tradition.
Cover image copyright © David Levine
Superhero films and comic book adaptations dominate contemporary Hollywood filmmaking, and it is not just the storylines of these blockbuster spectacles that have been influenced by comics. The comic book medium itself has profoundly influenced how movies look and sound today, as well as how viewers approach them as texts. Comic Book Film Style explores how the unique conventions and formal structure of comic books have had a profound impact on film aesthetics, so that the different representational abilities of comics and film are put on simultaneous display in a cinematic work.
With close readings of films including Batman: The Movie, American Splendor, Superman, Hulk, Spider-Man 2, V for Vendetta, 300, Scott Pilgrim vs. the World, Watchmen, The Losers, and Creepshow, Dru Jeffries offers a new and more cogent definition of the comic book film as a stylistic approach rather than a genre, repositioning the study of comic book films from adaptation and genre studies to formal/stylistic analysis. He discusses how comic book films appropriate comics’ drawn imagery, vandalize the fourth wall with the use of graphic text, dissect the film frame into discrete panels, and treat time as a flexible construct rather than a fixed flow, among other things. This cinematic remediation of comic books’ formal structure and unique visual conventions, Jeffries asserts, fundamentally challenges the classical continuity paradigm and its contemporary variants, placing the comic book film at the forefront of stylistic experimentation in post-classical Hollywood.
Feminine Feminists was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
What does it mean to be a woman today in Italy, a country with the lowest birthrate in the world and the heaviest maternal stereotype? Does being a feminist exclude practices of cultural femininity? What are Italian women's cultural productions? These questions are at the center of this volume, which looks at how feminism and femininity are embedded in a broad spectrum of Italian cultural practices.
In recent years, several books have introduced the American public to Italian women's voices. This volume goes beyond others in its range of theoretical topics and modes, considering cultural practices not only in their popular, material appearance, but also in the disciplines and forms of knowledge that order information and circumscribe behavior.The essays, all by well-known scholars in Italian studies, reflect the authors' specific critical interests in cinema, fashion, literary texts, feminist theory, and popular culture, past and present. Some address the culture of everyday life, while others examine feminism and femininity in the context of philosophy, ethics, or national identity within a global culture. Some begin with the conviction that performing "femininity"—whether in appearance or in nurturing practices—can be culturally liberating. Others put this notion to the critical test. By situating the problem of femininity within the discussion of feminism, this volume takes on larger issues within feminist discourse. Its bold examination of the component of femininity within the context of women's experiences offers readers rare insight into Italian women's culture and into the multicultural possibilities of feminism.Contributors: Beverly Allen,
Serena Anderlini-D'Onofrio, Lucia Chiavola Birnbaum, Renate Holub, Carol Lazzaro-Weis, Maria Marotti, Áine O'Healy, Graziella Parati, Eugenia Paulicelli, Robin Pickering-Iazzi, Maurizio Viano.Giovanna Miceli Jeffries is a lecturer in the department of French and Italian at the University of Wisconsin, Madison.
Books in the popular Harvey Goldberg Series provide high school and introductory college-level instructors with ample resources and strategies for better engaging students in critical, thought-provoking topics. By allowing for the implementation of a more nuanced curriculum, this is history instruction at its best. Understanding and Teaching the Civil Rights Movement will transform how the United States civil rights movement is taught.
The volume’s twelve contributors include well-known scholars such as James A. Geschwender and Douglas Glasgow as well as prominent community activists Akbar Muhammad Ahmad, Floyd W. Hayes III, and Komozi Woodard. Each of their chapters explores a single Black Power organization including Us, the Black Panther Party, and the Deacons for Defense and Justice. Important but lesser-known Black Power organizations such as the Republic of New Afrika and Sons of Watts are paid equal attention, as contributors address issues including self-defense, Black identity, and the politics of class and gender. Throughout, authors emphasize the primary role that Black institutions and charismatic leaders played in the rise, development, and eventual decline of the overall movement.
Hip-hop has come a long way from its origins in the Bronx in the 1970s, when rapping and DJing were just part of a lively, decidedly local scene that also venerated b-boying and graffiti. Now hip-hop is a global phenomenon and, in the United States, a massively successful corporate enterprise predominantly controlled and consumed by whites while the most prominent performers are black. How does this shift in racial dynamics affect our understanding of contemporary hip-hop, especially when the music perpetuates stereotypes of black men? Do black listeners interpret hip-hop differently from white fans?
These questions have dogged hip-hop for decades, but unlike most pundits, Michael P. Jeffries finds answers by interviewing everyday people. Instead of turning to performers or media critics, Thug Life focuses on the music’s fans—young men, both black and white—and the resulting account avoids romanticism, offering an unbiased examination of how hip-hop works in people’s daily lives. As Jeffries weaves the fans’ voices together with his own sophisticated analysis, we are able to understand hip-hop as a tool listeners use to make sense of themselves and society as well as a rich, self-contained world containing politics and pleasure, virtue and vice.
In exploring the origins and character of the American liberal tradition, Myra Jehlen begins with the proposition that the decisive factor that shaped the European settlers’ idea of “America” or the “American” was material rather than conceptual—it was the physical fact of the land. European settlers came to a continent on which they had no history, bringing the ideology of liberal individualism, which they projected onto the land itself. They believed the continent proclaimed that individuals were born in nature and freely made their own society. An insurgent ideology in Europe, this idea worked in America paradoxically to empower the individual and to restrict social change.
Jehlen sketches the evolution of the concept of incarnation through comparisons of American and European eighteenth-century naturalist writings, particularly Emerson’s Nature. She then explores the way incarnation functions ideologically—to both enable and curtail action—in the writing of fiction. Her examination of Hawthorne and Melville shows how the myth of the New World both licensed and limited American writers who set out to create their own worlds in fiction. She examines conflicts between the exigencies of narrative form and the imperatives of ideology in the writings of Franklin, Jefferson, Emerson, and others. Jehlen concludes with a speculation on the implication of this original construction of “America” for the United States today, when such imperial concepts have been called into question.
Throughout these essays Jehlen demonstrates the crucial role that the process of writing itself plays in unfolding these paradoxes, whether in the form of novels by Harriet Beecher Stowe and Virginia Woolf; the histories of Captain John Smith; or even a work of architecture, such as the Guggenheim museum in Bilbao.
Step into Ernst Wolzogen's Motley Theater, Max Reinhardt's Sound and Smoke, Rudolf Nelson's Chat noir, and Friedrich Hollaender's Tingel-Tangel. Enjoy Claire Waldoff's rendering of a lower-class Berliner, Kurt Tucholsky's satirical songs, and Walter Mehring's Dadaist experiments, as Peter Jelavich spotlights Berlin's cabarets from the day the curtain first went up, in 1901, until the Nazi regime brought it down.
Fads and fashions, sexual mores and political ideologies--all were subject to satire and parody on the cabaret stage. This book follows the changing treatment of these themes, and the fate of cabaret itself, through the most turbulent decades of modern German history: the prosperous and optimistic Imperial age, the unstable yet culturally inventive Weimar era, and the repressive years of National Socialism. By situating cabaret within Berlin's rich landscape of popular culture and distinguishing it from vaudeville and variety theaters, spectacular revues, prurient "nude dancing," and Communist agitprop, Jelavich revises the prevailing image of this form of entertainment.
Neither highly politicized, like postwar German Kabarett, nor sleazy in the way that some American and European films suggest, Berlin cabaret occupied a middle ground that let it cast an ironic eye on the goings-on of Berliners and other Germans. However, it was just this satirical attitude toward serious themes, such as politics and racism, that blinded cabaret to the strength of the radical right-wing forces that ultimately destroyed it. Jelavich concludes with the Berlin cabaret artists' final performances--as prisoners in the concentration camps at Westerbork and Theresienstadt.
This book gives us a sense of what the world looked like within the cabarets of Berlin and at the same time lets us see, from a historical distance, these lost performers enacting the political, sexual, and artistic issues that made their city one of the most dynamic in Europe.
Newly revised and updated, To Serve God and Mammon is a classic in the field of religion and politics that provides an unbiased introduction and overview of church–state relations in the United States.
Jelen begins by exploring the inherent tension between the Establishment and Free Exercise clauses of the First Amendment. He then examines how different actors in American politics (e.g., the courts, Congress, the president, ordinary citizens) have different and conflicting values that affect their attitudes and actions toward the relationship between the sacred and the secular. Finally, he discusses how the fragmented nature of political authority in the United States provides the basis for continuing conflict concerning church–state relations.
This second edition includes analyses of various recent court cases and the implications of living in the post–9/11 era. It also features discussion questions at the end of each chapter, a glossary of terms, and synopses of selected court decisions bearing on religion and politics in the United States.
Tim Jelfs’s The Argument about Things in the 1980s considers all this and more in a broad study of the literature and culture of the “long 1980s.” It contributes to of-the-moment scholarly debate about material culture, high finance, and ecological degradation, shedding new light on the complex relationship between neoliberalism and cultural life.
A timely exploration of the nature of memory and its political uses
Hearing the news from South America at the turn of the millennium can be like traveling in time: here are the trials of Pinochet, the searches for “the disappeared” in Argentina, the investigation of the death of former president Goulart in Brazil, the Peace Commission in Uruguay, the Archive of Terror in Paraguay, a Truth Commission in Peru. As societies struggle to come to terms with the past and with the vexing questions posed by ineradicable memories, this wise book offers guidance.
Combining a concrete sense of present urgency and a theoretical understanding of social, political, and historical realities, State Repression and the Labors of Memory fashions tools for thinking about and analyzing the presences, silences, and meanings of the past. With unflappable good judgment and fairness, Elizabeth Jelin clarifies the often muddled debates about the nature of memory, the politics of struggles over memories of historical injustice, the relation of historiography to memory, the issue of truth in testimony and traumatic remembrance, the role of women in Latin American attempts to cope with the legacies of military dictatorships, and problems of second-generation memory and its transmission and appropriation. Jelin’s work engages European and North American theory in its exploration of the various ways in which conflicts over memory shape individual and collective identities, as well as social and political cleavages. In doing so, her book exposes the enduring consequences of repression for social processes in Latin America, and at the same time enriches our general understanding of the fundamentally conflicted and contingent nature of memory.
This study of the significance of changes through time revealed by an analysis of the chipped stone at La Quina reports on the excavations of the Cooperative American–French Excavation Project from 1985 to 1994. It moves beyond the largely descriptive and subjective approaches that have traditionally been applied to this kind of evidence and applies several important quantitative analytical techniques. These new approaches incorporate the history of previous excavations at the site, the results of the work of the Cooperative Project, and the most recent scientific understanding of relevant climatic changes.
This is a major contribution to our understanding of Neandertal behavior and industry. It adds new dimensions and perspectives based on innovative techniques of analysis. The analytic methods applied to lithic artifacts that form the heart of the book are the product of considerations about how to best interpret a sequence of multiple contextual samples. The author concludes the book with an extraordinarily useful chapter that places his findings into the larger context of our contemporary knowledge of Neandertal life in the region.
The book comes with a compact disc, which includes coded observations used in the analysis in as many as 47 data fields for the more than 11,500 artifacts that will allow professionals and students to further explore the collection of lithic artifacts.
In Greek mythology, it is Hera who blinds the hero Heracles, so that, in a fit of fury, he kills his own family. In the twenty-first century, the gods have another name. So did the three young men who stormed a magazine’s editorial office and a Jewish supermarket in Paris in January 2015 and murdered twelve people. The blind fury, however, remained and more virulent than ever, not least because the weapons were so much more effective.
In this raging text, arguably one of her darkest, Nobel Prize winner Elfriede Jelinek investigates topical political events in the context of enduring history and myths. Fury expresses itself not only multi-voiced and from the changing perspective of Islamist terrorists (and their special hatred of Jews), in the shape of furious German citizens, individual narcissistic humiliation, or brutal distribution battles around the globe. Rather, fury also appears as the motor that has driven people with a devastating force for centuries.
With her characteristic linguistic power, Jelinek articulates her own disconcertedness in the face of these crimes. In passing, she returns repeatedly to the contradiction between religious laws against representation and the deluge of images online, where movies of assassination, severed heads, and other atrocities are exhibited for millions to see. Fury is a compact grand epic that starts in primal times and attempts to describe the indescribable, relating the inexplicable in our times.
Focusing on the intersection of African Americans' nineteenth-century cultural values and the changing social and political conditions in the first half of the twentieth century, Jelks pays particularly close attention to the religious community's influence during their struggle toward a respectable social identity and fair treatment under the law. He explores how these competing values defined the community's politics as it struggled to expand its freedoms and change its status as a subjugated racial minority.
For author Gish Jen, the daughter of Chinese immigrant parents, books were once an Outsiders’ Guide to the Universe. But they were something more, too. Through her eclectic childhood reading, Jen stumbled onto a cultural phenomenon that would fuel her writing for decades to come: the profound difference in self-narration that underlies the gap often perceived between East and West.
Drawing on a rich array of sources, from paintings to behavioral studies to her father’s striking account of his childhood in China, this accessible book not only illuminates Jen’s own development and celebrated work but also explores the aesthetic and psychic roots of the independent and interdependent self—each mode of selfhood yielding a distinct way of observing, remembering, and narrating the world. The novel, Jen writes, is fundamentally a Western form that values originality, authenticity, and the truth of individual experience. By contrast, Eastern narrative emphasizes morality, cultural continuity, the everyday, the recurrent. In its progress from a moving evocation of one writer’s life to a convincing delineation of the forces that have shaped our experience for millennia, Tiger Writing radically shifts the way we understand ourselves and our art-making.
In a fervent appeal for clearer thinking on social issues, Christopher Jencks reexamines the way Americans think about race, poverty, crime, heredity, welfare, and the underclass. Arguing that neither liberal nor conservative ideas about these issues withstand close scrutiny, he calls for less emphasis on political principles and more attention to specific programs. Jencks describes how welfare policy was dominated in the early 1980s by conservatives who promoted ideas that justified cutting back sharply on the social programs of Lyndon Johnson's Great Society. They believed that a period of sustained economic growth, with low taxes and free markets, would do more to help poor people than coddling them with government assistance.
Despite the economic expansion of the later Reagan years, however, the problems of persistent poverty grew even more serious. The liberals took the initiative in the late 1980s, but their proposals failed to win broad popular support. With clarity and a gift for apt analogy, Jencks analyzes influential books on such subjects as affirmative action (Thomas Sowell), the “safety net” (Charles Murray), the effects of heredity on learning and propensity to commit crime (James Q. Wilson and Richard Herrnstein), ghetto culture and the underclass (William J. Wilson). His intention throughout is “to unbundle the empirical and moral assumptions that traditional ideologies tie together, making the reader's picture of the world more complicated”—in other words, to force us (readers and policymakers) to look at the way various remedial plans actually succeed or fail.
For example, he believes that until we transform AFDC so that it reinforces rather than subverts American ideals about work and marriage, efforts to build a humane welfare state will never succeed. Other prescriptions, initially surprising and sometimes shocking, show demonstrable good sense once they are examined. As the author says, “If this book encourages readers to think about social policy more concretely, it will have served its primary purpose.”
The essays cover a wide and colorful array of subjects including pro wrestling, the computer games Myst and Doom, soap operas, baseball card collecting, the Tour de France, karaoke, lesbian desire in the Wizard of Oz, Internet fandom for the series Babylon 5, and the stress-management industry. Broader themes examined include the origins of popular culture, the aesthetics and politics of performance, and the social and cultural processes by which objects and practices are deemed tasteful or tasteless. The commitment that binds the contributors is to an emergent perspective in cultural studies, one that engages with popular culture as the culture that "sticks to the skin," that becomes so much a part of us that it becomes increasingly difficult to examine it from a distance. By refusing to deny or rationalize their own often contradictory identifications with popular culture, the contributors ensure that the volume as a whole reflects the immediacy and vibrancy of its objects of study.
Hop on Pop will appeal to those engaged in the study of popular culture, American studies, cultural studies, cinema and visual studies, as well as to the general educated reader.
Contributors. John Bloom, Gerry Bloustein, Aniko Bodroghkozy, Diane Brooks, Peter Chvany, Elana Crane, Alexander Doty, Rob Drew, Stephen Duncombe, Nick Evans, Eric Freedman, Joy Fuqua, Tony Grajeda, Katherine Green, John Hartley, Heather Hendershot, Henry Jenkins, Eithne Johnson, Louis Kaplan, Maria Koundoura, Sharon Mazer, Anna McCarthy, Tara McPherson, Angela Ndalianis, Edward O’Neill, Catherine Palmer, Roberta Pearson, Elayne Rapping, Eric Schaefer, Jane Shattuc, Greg Smith, Ellen Strain, Matthew Tinkhom, William Uricchio, Amy Villarego, Robyn Warhol, Charles Weigl, Alan Wexelblat, Pamela Robertson Wojcik, Nabeel Zuberi
Exploring the forces that keep black people vulnerable even amid economically privileged lives
At a moment in U.S. history with repeated reminders of the vulnerability of African Americans to state and extralegal violence, Black Bourgeois is the first book to consider the contradiction of privileged, presumably protected black bodies that nonetheless remain racially vulnerable. Examining disruptions around race and class status in literary texts, Candice M. Jenkins reminds us that the conflicted relation of the black subject to privilege is not, solely, a recent phenomenon.
Focusing on works by Toni Morrison, Spike Lee, Danzy Senna, Rebecca Walker, Reginald McKnight, Percival Everett, Colson Whitehead, and Michael Thomas, Jenkins shows that the seemingly abrupt discursive shift from post–Civil Rights to Black Lives Matter, from an emphasis on privilege and progress to an emphasis on vulnerability and precariousness, suggests a pendulum swing between two interrelated positions still in tension. By analyzing how these narratives stage the fraught interaction between the black and the bourgeois, Jenkins offers renewed attention to class as a framework for the study of black life—a necessary shift in an age of rapidly increasing income inequality and societal stratification.
Black Bourgeois thus challenges the assumed link between blackness and poverty that has become so ingrained in the United States, reminding us that privileged subjects, too, are “classed.” This book offers, finally, a rigorous and nuanced grasp of how African Americans live within complex, intersecting identities.
Private Lives, Proper Relations begins with the question of why contemporary African American literature—particularly that produced by black women—is continually concerned with issues of respectability and propriety. Candice M. Jenkins argues that this preoccupation has its origins in recurrent ideologies about African American sexuality, and that it expresses a fundamental aspect of the racial self—an often unarticulated link between the intimate and the political in black culture.
In a counterpoint to her paradigmatic reading of Nella Larsen’s Passing, Jenkins’s analysis of black women’s narratives—including Ann Petry’s The Street, Toni Morrison’s Sula and Paradise, Alice Walker’s The Color Purple, and Gayl Jones’s Eva’s Man—offers a theory of black subjectivity. Here Jenkins describes middle-class attempts to rescue the black community from accusations of sexual and domestic deviance by embracing bourgeois respectability, and asserts that behind those efforts there is the “doubled vulnerability” of the black intimate subject. Rather than reflecting a DuBoisian tension between race and nation, to Jenkins this vulnerability signifies for the African American an opposition between two poles of potential exposure: racial scrutiny and the proximity of human intimacy.
Scholars of African American culture acknowledge that intimacy and sexuality are taboo subjects among African Americans precisely because black intimate character has been pathologized. Private Lives, Proper Relations is a powerful contribution to the crucial effort to end the distortion still surrounding black intimacy in the United States.
Candice M. Jenkins is associate professor of English at Hunter College, City University o
In this passionate and deeply researched book, Destin Jenkins shows in vivid detail how, beyond the borrowing decisions of American cities and beneath their quotidian infrastructure, there lurks a world of politics and finance that is rarely seen, let alone understood. Focusing on San Francisco, The Bonds of Inequality offers a singular view of the postwar city, one where the dynamics that drove its creation encompassed not only local politicians but also banks, credit rating firms, insurance companies, and the national municipal bond market. Moving between the local and the national, The Bonds of Inequality uncovers how racial inequalities in San Francisco were intrinsically tied to municipal finance arrangements and how these arrangements were central in determining the distribution of resources in the city. By homing in on financing and its imperatives, Jenkins boldly rewrites the history of modern American cities, revealing the hidden strings that bind debt and power, race and inequity, democracy and capitalism.
Documenting the evolution of economic development and fiscal policies in Taiwan over the last four decades, this work explores the effectiveness of specific tax and trade policies. The authors make a major revision to the previously accepted role played by the export processing zones and the protection of domestic producers from foreign competition. The extensive use of duty exemption systems enabled the government to create competition among the exporting firms, and the innovative design of economic policies and administrative systems helped the private sector generate savings, expand investments, and promote exports.
This work analyzes how unique fiscal policies and administrative practices were designed to foster the rapid growth and development of Taiwan during this period.
From Athens and Arcadia on one side of the Aegean Sea and from Ionia, Lycia, and Karia on the other, this book brings together some of the great monuments of classical antiquity --among them two of the seven wonders of the ancient world, the later temple of Artemis at Ephesos and the Mausoleum at Halikarnassos.
Drawing on the Greek and Lycian architecture and sculpture in the British Museum--a collection second to none in quality, quantity, and geographical and chronological range--this lavishly illustrated volume tells a remarkable story reaching from the archaic temple of Artemis, the Parthenon, and other temples of the Athenian Acropolis to the temple of Apollo at Bassai, the sculptured tombs of Lycia, the Mausoleum, and the temple of Athena Polias at Priene. Ian Jenkins explains each as a work of art and as a historical phenomenon, revealing how the complex personality of these buildings is bound up with the people who funded, designed, built, used, destroyed, discovered, and studied them. With 250 photographs and specially commissioned line drawings, the book comprises a monumental narrative of the art and architecture that gave form, direction, and meaning to much of Western culture.
The Parthenon sculptures in the British Museum are unrivaled examples of classical Greek art, an inspiration to artists and writers since their creation in the fifth century bce. A superb visual introduction to these wonders of antiquity, this book offers a photographic tour of the most famous of the surviving sculptures from ancient Greece, viewed within their cultural and art-historical context.
Ian Jenkins offers an account of the history of the Parthenon and its architectural refinements. He introduces the sculptures as architecture--pediments, metopes, Ionic frieze--and provides an overview of their subject matter and possible meaning for the people of ancient Athens. Accompanying photographs focus on the pediment sculptures that filled the triangular gables at each end of the temple; the metopes that crowned the architrave surmounting the outer columns; and the frieze that ran around the four sides of the building, inside the colonnade. Comparative images, showing the sculptures in full and fine detail, bring out particular features of design and help to contrast Greek ideas with those of other cultures.
The book further reflects on how, over 2,500 years, the cultural identity of the Parthenon sculptures has changed. In particular, Jenkins expands on the irony of our intimate knowledge and appreciation of the sculptures--a relationship far more intense than that experienced by their ancient, intended spectators--as they have been transformed from architectural ornaments into objects of art.
The Politics of Social Protest was first published in 1995. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Bringing together celebrated scholars from diverse traditions and backgrounds, The Politics of Social Protest focuses on the reciprocal relationships among social movements, states, and political parties. The volume is organized around three key questions: Why do citizens resort to the often risky and demanding strategy of using disruptive protest when other channels of political intervention appear to be available? What is the relationship between social protest movements and systems of political representation? And what is the impact of the structure and development of the state on social movements themselves?
Contributors include Ronald Aminzade, University of Minnesota; Paul Burstein, University of Washington; Russell J. Dalton, University of California, Irvine; Donatella della Porta, University of Florence; Henry Dietz, University of Texas, Austin; Rachel L. Einwohner, University of Washington; Steven E. Finkel, University of Virginia; Jerrold D. Green, University of Arizona; Jocelyn Hollander, University of Washington; Hanspeter Kriesi, University of Geneva; Diarmuid Maguire, University of Sydney; Bronislaw Misztal, Indiana University, Fort Wayne; Edward N. Muller, University of Arizona; Michael Nollert, University of Trier; Karl-Dieter Opp, University of Hamburg; Dieter Rucht, Wissenschaftszentrum Berlin; Michael Wallace, Indiana University; and Gadi Wolfsfeld, Hebrew University of Jerusalem.
J. Craig Jenkins is professor of sociology at The Ohio State University. He is the author of The Politics of Insurgency: The Farm Worker Movement of the 1960's (1985).
Bert Klandermans is professor of applied social psychology at Free University in Amsterdam, the Netherlands. He has published widely on social movements in journals such as the American Sociological Review, Sociological Forum, and the European Journal of Social Psychology. He is the editor of the Social Movements, Protest, and Contention series for the University of Minnesota Press.
Copublished with UCL Press, London.
The authors examine in detail how the Republican Party slowly withdrew its support for a meaningful civil rights agenda, as well as how Democrats and Republicans worked together to keep civil rights off the legislative agenda at various points. In doing so, Jenkins and Peck show how legal institutions can be used both to liberate and protect oppressed minorities and to assert the power of the white majority against those same minority groups.
Celluloid Pueblo tells the story of Western Ways Features and its role in the invention of the Southwest of the imagination. Active during a thirty-year period of profound growth and transformation, the Herberts created a dynamic visual record of the region, and their archival films now serve as a time capsule of the Sunbelt in the mid-twentieth century. Drawing upon a ten-year career with Fox, Western Ways owner-operator Charles Herbert brought a newshound’s sensibility and acute skill at in-camera editing to his southwestern subjects. The Western Ways films provided counternarratives to Hollywood representations of the West and established the regional identity of Tucson and the borderlands.
Jennifer L. Jenkins’s broad-sweeping book examines the Herberts’ work on some of the first sound films in the Arizona borderlands and their ongoing promotion of the Southwest. The book covers the filmic representation of Native and Mexican lifeways, Anglo ranching and leisure, Mexican missions and tourism, and postwar borderlands prosperity and progressivism. The story of Western Ways closely follows the boom-and-bust arc of the midcentury Southwest and the constantly evolving representations of an exotic—but safe and domesticated—frontier.
“[These reminiscences] light up for whoever will read the earliest days of early English-speaking Texas.” —J. Frank Dobie, from the foreword
A firsthand account of pioneer life in east Texas.
Denounced by some as a dangerous cult and lauded by others as a miraculous faith community, the International Churches of Christ was a conservative evangelical Christian movement that grew rapidly in the 1980s and 1990s.
Among its followers, promises to heal family relationships were central to the group's appeal. Members credit the church for helping them develop so-called "awesome families"-successful marriages and satisfying relationships with children, family of origin, and new church "brothers and sisters." The church engaged an elaborate array of services, including round-the-clock counseling, childcare, and Christian dating networks-all of which were said to lead to fulfilling relationships and exciting sex lives. Before the unified movement's demise in 2003-2004, the lure of blissful family-life led more than 100,000 individuals worldwide to be baptized into the church.
In Awesome Families, Kathleen Jenkins draws on four years of ethnographic research to explain how and why so many individuals-primarily from middle- to upper-middle-class backgrounds-were attracted to this religious group that was founded on principles of enforced community, explicit authoritative relationships, and therapeutic ideals. Weaving classical and contemporary social theory, she argues that members were commonly attracted to the structure and practice of family relationships advocated by the church, especially in the context of contemporary society where gender roles and family responsibilities are often ambiguous.
Tracing the rise and fall of this fast-growing religious movement, this timely study adds to our understanding of modern society and offers insight to the difficulties that revivalist movements have in sustaining growth.
For more than five years, Jenkins observed religious support groups and workshops for the divorced and interviewed religious practitioners in the midst of divorces, along with clergy members who advised them. Her findings appear here in the form of eloquent and revealing stories about individuals managing emotions in ways that make divorce a meaningful, even sacred process. Clergy from mainline Protestant denominations to Baptist churches, Jewish congregations, Unitarian fellowships, and Catholic parishes talk about the concealed nature of divorce in their congregations. Sacred Divorce describes their cautious attempts to overcome such barriers, and to assemble meaningful symbols and practices for members by becoming compassionate listeners, delivering careful sermons, refitting existing practices like Catholic annulments and Jewish divorce documents (gets), and constructing new rituals.
With attention to religious, ethnic, and class variations, covering age groups from early thirties to mid-sixties and separations of only a few months to up to twenty years, Sacred Divorce offers remarkable insight into individual and cultural responses to divorce and the social emotions and spiritual strategies that the clergy and the faithful employ to find meaning in the breach. At once a sociological document, an ethnographic analysis, and testament of personal experience, Sacred Divorce provides guidance, strategies and answers to readers looking for answers and those looking to heal.
Using a unique data set comparing mothers and daughters who attended Douglass College—the women's college of Rutgers University—twenty-five years apart, Krista Jenkins perceptively observes the changes in how women acquire their attitudes toward gender roles and behaviors in the post-women's movement years.
Mothers, Daughters, and Political Socialization examines the role of intergenerational transmission—the maternal influences on younger women—while also looking at differences among women in attitudes and behaviors relative to gender roles that might be attributed to the nature of the times during their formative years. How do daughters coming of age in an era when the women's movement is far less visible deal with gendered expectations compared to their mothers? Do they accept the contemporary status quo their feminist mothers fought so hard to achieve? Or, do they press forward with new goals?
Jenkins shows how contemporary women are socialized to accept or reject traditional gender roles that serve to undermine their equality.
Biodiversity and the Law is a timely and provocative volume that combines historical perspective and cutting-edge legal analysis in an authoritative and broad discussion of biodiversity and the law. Leading legal and policy experts consider a variety of options for the worldwide protection of biodiversity and present a succinct but comprehensive overview of the legal mechanisms available. They examine how conservation advocates can better utilize existing law, and consider what new law is needed.
Among the topics considered are:
- scientific and policy foundations of biodiveristy protection
- domestic efforts to establish an effective endangered species protection regime
- international biodiversity protection
- biodiversity as a genuinely public entity
- the future of biodiversity law
Since at least the time of Plato's Republic, the relationship between poetry and ethics has been troubled. Through the prism of what has been called the "new" ethical criticism, inspired by the work of Emmanuel Levinas, G. Matthew Jenkins considers the works of Objectivists, Black Mountain poets, and Language poets in light of their full potential to reshape this ancient relationship.
American experimental poetry is usually read in either political or moral terms. Poetic Obligation, by contrast, considers the poems of Louis Zukofsky, Charles Reznikoff, George Oppen, Edward Dorn, Robert Duncan, Susan Howe, and Lyn Hejinian in terms of the philosophical notion of ethical obligation to the Other in language. Jenkins's historical trajectory enables him to consider the full breadth of ethical topics that have driven theoretical debate since the end of World War II. This original approach establishes an ethical lineage in the works of twentieth-century experimental poets, creating a way to reconcile the breach between poetry and the issue of ethics in literature at large.
With implications for a host of social issues, including ethnicity and immigration, economic inequities, and human rights, Jenkins's imaginative reconciliation of poetry and ethics will provide stimulating reading for teachers and scholars of American literature as well as advocates and devotees of poetry in general. Poetic Obligation marshals ample evidence that poetry matters and continues to speak to the important issues of our day.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Representing the synthesis of approximately ten years of archaeological research along the central Tombigbee River, this book offers new theoretical and interpretive contributions to the study of human activity in the Tombigbee River Valley from 1000 B.C. to A.D. 1450. The authors have devised a new taxonomic approach that allows them to portray cultures as they gathered momentum and peaked in their potential as social, economic, and political structures. The data acquired for this study are from the massive cultural resource management program that accompanied the construction of the Tennessee-Tombigbee Waterway.
A leading eighteenth-century composer, Sammartini was a key figure in the creation of the classic style, particularly the classic symphony. His symphonies and sonatas have survived in greatest number, but of equal interest is the sacred vocal music, a product of his lifelong service as a church musician. This volume lists all Sammartini's known orchestral and vocal works, sacred and secular—286 items. The entries give an incipit of each movement; instrumentation; date if known; a list of early manuscript and printed copies; and other significant information about variants, circumstances of performance, singers, copyists, and the like. The appendices list arrangements, contrafacta, and lost, doubtful, and spurious works.
Music collections in more than seventy-five libraries have been examined in gathering this material. Most compositions are listed here for the first time. In their introduction the authors provide a detailed biography, and discuss the composer's style, the major manuscript sources, and problems of authenticity. They have also included an extensive bibliography. Their book is basic to any study of Sammartini and of this pivotal period in the history of Western music.
A groundbreaking reassessment of W. H. Auden’s early life and poetry, shedding new light on his artistic development as well as on his shifting beliefs about political belonging in interwar England.
From his first poems in 1922 to the publication of his landmark collection On This Island in the mid-1930s, W. H. Auden wrestled with the meaning of Englishness. His early works are prized for their psychological depth, yet Nicholas Jenkins argues that they are political poems as well, illuminating Auden’s intuitions about a key aspect of modern experience: national identity. Two historical forces, in particular, haunted the poet: the catastrophe of World War I and the subsequent “rediscovery” of England’s rural landscapes by artists and intellectuals.
The Island presents a new picture of Auden, the poet and the man, as he explored a genteel, lyrical form of nationalism during these years. His poems reflect on a world in ruins, while cultivating visions of England as a beautiful—if morally compromised—haven. They also reflect aspects of Auden’s personal search for belonging—from his complex relationship with his father, to his quest for literary mentors, to his negotiation of the codes that structured gay life. Yet as Europe veered toward a second immolation, Auden began to realize that poetic myths centered on English identity held little potential. He left the country in 1936 for what became an almost lifelong expatriation, convinced that his role as the voice of Englishness had become an empty one.
Reexamining one of the twentieth century’s most moving and controversial poets, The Island is a fresh account of his early works and a striking parable about the politics of modernism. Auden’s preoccupations with the vicissitudes of war, the trials of love, and the problems of identity are of their time. Yet they still resonate profoundly today.
Interpreting the band’s diverse repertoire as both a source of its popularity and a reason for its exclusion from the bluegrass pantheon, Paul Jenkins advances subtle arguments about genre, criticism, and audience. Bluegrass Ambassadors analyzes the McLains’ compositions, recordings, and performances, and features a complete discography.
In her vibrant ethnography My Culture, My Color, My Self, Toby Jenkins provides engrossing, in-depth interviews and poignant snapshots of young adults talking about their lives and culture. She recounts D'Leon's dream to become a positive example for African American men, and Francheska describing how her late mother inspired her appreciation of her Boricua heritage. In these and other portraits, Jenkins considers the role that cultural education and engagement plays in enhancing educational systems, neighborhood programs, and community structures.
My Culture, My Color, My Self also features critical essays that focus on broader themes such as family bonds, education, and religion. Taken together, Jenkins shows how people of color use their culture as both a politic of social survival and a tool for social change.
What’s your impression of the CIA? A bumbling agency that can’t protect its own spies? A rogue organization prone to covert operations and assassinations? Or a dedicated public service that advances the interests of the United States? Astute TV and movie viewers may have noticed that the CIA’s image in popular media has spanned this entire range, with a decided shift to more positive portrayals in recent years. But what very few people know is that the Central Intelligence Agency has been actively engaged in shaping the content of film and television, especially since it established an entertainment industry liaison program in the mid-1990s.
The CIA in Hollywood offers the first full-scale investigation of the relationship between the Agency and the film and television industries. Tricia Jenkins draws on numerous interviews with the CIA’s public affairs staff, operations officers, and historians, as well as with Hollywood technical consultants, producers, and screenwriters who have worked with the Agency, to uncover the nature of the CIA’s role in Hollywood. In particular, she delves into the Agency’s and its officers’ involvement in the production of The Agency, In the Company of Spies, Alias, The Recruit, The Sum of All Fears, Enemy of the State, Syriana, The Good Shepherd, and more. Her research reveals the significant influence that the CIA now wields in Hollywood and raises important and troubling questions about the ethics and legality of a government agency using popular media to manipulate its public image.
Contributors
Eric Arnold, Bridget Arnwine, Angelika Beener, Playthell Benjamin, Herb Boyd, Bill Brower, Jo Ann Cheatham, Karen Chilton, Janine Coveney, Marc Crawford, Stanley Crouch, Anthony Dean-Harris, Jordannah Elizabeth, Lofton Emenari III, Bill Francis, Barbara Gardner, Farah Jasmine Griffin, Jim Harrison, Eugene Holley Jr., Haybert Houston, Robin James, Willard Jenkins, Martin Johnson, LeRoi Jones, Robin D. G. Kelley, Tammy Kernodle, Steve Monroe, Rahsaan Clark Morris, John Murph, Herbie Nichols, Don Palmer, Bill Quinn, Guthrie P. Ramsey Jr., Ron Scott, Gene Seymour, Archie Shepp, Wayne Shorter, A. B. Spellman, Rex Stewart, Greg Tate, Billy Taylor, Greg Thomas, Robin Washington, Ron Welburn, Hollie West, K. Leander Williams, Ron Wynn
The Future of Ethics interprets the big questions of sustainability and social justice through the practical problems arising from humanity’s increasing power over basic systems of life. What does climate change mean for our obligations to future generations? How can the sciences work with pluralist cultures in ways that will help societies learn from ecological change?
Traditional religious ethics examines texts and traditions and highlights principles and virtuous behaviors that can apply to particular issues. Willis Jenkins develops lines of practical inquiry through "prophetic pragmatism," an approach to ethics that begins with concrete problems and adapts to changing circumstances. This brand of pragmatism takes its cues from liberationist theology, with its emphasis on how individuals and communities actually cope with overwhelming problems.
Can religious communities make a difference when dealing with these issues? By integrating environmental sciences and theological ethics into problem-based engagements with philosophy, economics, and other disciplines, Jenkins illustrates the wide understanding and moral creativity needed to live well in the new conditions of human power. He shows the significance of religious thought to the development of interdisciplinary responses to sustainability issues and how this calls for a new style of religious ethics.
The Palace of Bones by Allison Eir Jenks is an often stark and startling vision of the way we live, the places we inhabit, and the relics we make to comfort ourselves.
Haunted by a quiet, unquenchable longing, Jenks expertly and calmly guides the reader through a vivid dreamscape in this first full-length collection of poems.
The Palace of Bones was selected by final judge and Pulitzer Prize winner Carolyn Kizer. At once dark in its vision and light in its tone, this remarkable book is its author’s self-confident invitation for us to join her in a world she knows intimately and has made almost familiar if not entirely safe.
The Palace of Bones is a stunning debut.
The starting point for Richard Jenkyns’ latest work is his contention that the Victorian age, which we think of as the great age of Gothic, was so shot through with the influence of the classical past that we should instead think of Victorian art and architecture as the continuing flow of two stylistic streams—the Gothic and the classical, side by side. In advancing his argument Jenkyns turns our accepted notions of the Victorians upside down, presenting Ruskin as an admirer of Greek statuary, the Houses of Parliament as a classical rather than a Gothic composition, and Thomas Woolner, the only sculptor among the original Pre–Raphaelite brotherhood, as a neo–Hellenic carver and poet.
Jenkyns moves effortlessly between the general and the particular and is refreshingly unafraid to make judgments. Here are some of the best descriptions of Victorian painting, sculpture, and architecture to have appeared in recent years. From the very gradual changes throughout the paintings of Leighton and Alma–Tadema, to the operettas of Gilber Pater, and even the advertisements for Beecham's pills, Jenkyns shows how what had been merely eclectic became a distinctive fin-de-siècle style and eventually began to point the way for Modernism.
These are the grand themes, presented by a masterly guide. Above all Jenkyns is entertaining: Dignity and Decadence is one of the most illuminating and enjoyable books about the Victorians yet to appear.
Westminster Abbey is the most complex church in existence. National cathedral, coronation church, royal mausoleum, burial place of poets, resting place of the great and of the Unknown Warrior, former home of parliament, backdrop to the funeral of Diana, Princess of Wales—this rich and extraordinary building unites many functions.
Westminster Abbey is both an appreciation of an architectural masterpiece and an exploration of the building’s shifting meanings. We hear the voices of those who have described its forms, moods, and ceremonies, from Shakespeare and Voltaire to Dickens and Henry James; we see how rulers have made use of it, from medieval kings to modern prime ministers. In a highly original book, classicist and cultural historian Richard Jenkyns teaches us to look at this microcosm of history with new eyes.
In 1913 a young ethnologist from New Zealand boarded a ship for the Arctic, beginning a personal journey that was to make Diamond Jenness one of the twentieth century's foremost authorities on Alaskan Eskimos. Jenness had been asked to join the Stefansson expedition, and his official duties were to collect ethnographic details on the Eskimos—their culture, technology, religion, and social organization. His account of the expedition was published as People of the Twilight in 1928, but Jenness also kept a diary of his three years among the Eskimos. He was eventually persuaded to publish it as Dawn in Arctic Alaska.
Predating the genre of personal ethnographies that has become so popular and important today, Jenness's tales blend his keen observations of the Arctic and its people with his own reflections and sensory experiences. He expresses great adimiration for the customs and character of the Eskimos and great regret and disappointment over the destruction of their lifeway through contact with white men.
As our economic and natural systems continue on their collision course, Bruce Jennings asks whether we have the political capacity to avoid large-scale environmental disaster. Can liberal democracy, he wonders, respond in time to ecological challenges that require dramatic changes in the way we approach the natural world? Must a more effective governance be less democratic and more autocratic? Or can a new form of grassroots ecological democracy save us from ourselves and the false promises of material consumption run amok?
Ecological Governance is an ethicist’s reckoning with how our political culture, broadly construed, must change in response to climate change. Jennings argues that during the Anthropocene era a social contract of consumption has been forged. Under it people have given political and economic control to elites in exchange for the promise of economic growth. In a new political economy of the future, the terms of the consumptive contract cannot be met without severe ecological damage. We will need a new guiding vision and collective aim, a new social contract of ecological trusteeship and responsibility.
All manner of medical practitioners have had their scruples dissected ad infinitum. In spite of the attention paid to medical ethics and bioethics, little has been paid to the ethical roles and responsibilities of those who are ultimately in charge of hospital governance: hospital trustees.
Deriving from a Hastings Center research project involving meetings with a national task force of experts and extensive interviews with 98 nonprofit hospital trustees and CEOs over a two-year period, The Ethics of Hospital Trustees shows that the decisions made by these often overlooked members of the health community do raise important ethical issues, and that ethical dimensions of trustee service should be more explicitly recognized and discussed.
Practical as well as theoretical, The Ethics of Hospital Trustees uncovers four basic principles: 1. Fidelity to mission; 2. Service to patients; 3. Service to the community; and 4. Institutional stewardship. In delineating the extremely important functions of hospital trustees, from patient safety to financial responsibility, the contributors outline not only how hospital trustees do perform—they give a fresh understanding to how they should perform as well.
When Theatre for Youth: Twelve Plays with Mature Themes was published in 1986, it met a need for plays that could help young people deal with some of the more difficult realities of life. Responding to the sweeping changes in society over the succeeding thirty years, Coleman A. Jennings and Gretta Berghammer have assembled a new collection of plays that reflects not only on themes such as aging, death and dying, friendship, courage, conformity, maturation, sexuality, and struggles with moral judgment but also on gender identity, poverty, diversity, and discrimination.
Theatre for Youth II: More Plays with Mature Themes presents twelve plays, nine of them new to this anthology, that offer a rich variety of original stories (The Tomato Plant Girl, The Arkansaw Bear, Super Cowgirl and Mighty Miracle), compelling adaptations (The Afternoon of the Elves, Broken Hearts, Courage!), historical drama (Mother Hicks, Johnny Tremain), diverse themes (La Ofrenda, The Transition of Doodle Pequeño), friendship (The Selfish Giant), and future societies (With Two Wings). As these plays explore some of the most challenging themes for today’s youth, including the difficulties of single parenthood, divorce, race relations, sexuality, and gender discrimination, they share messages fundamental to us all: open your imagination and dare to dream; embrace life; honor your personal passion, beliefs, and creativity; take a risk; and love with all your heart.
Since the beginning of the theatre-for-youth movement in the United States, the majority of plays written for children have been fairy tales. By the 1960s, however, encouraged by changes in social attitudes toward children, playwrights began to respond to a growing tendency on the parts of both parents and teachers to have children face, rather than avoid, the more difficult truths of existence. Thus children's dramatic literature was opened to new subjects, themes and characters previously considered unsuitable for the young audience.
Theatre for Youth seeks to identify and illustrate this trend by examining twelve plays that deal with mature themes: aging, death and dying, conformity, sexuality, divorce, moral culpability. The plays have been chosen not only for their mature content, but also for their professional integrity, the delicacy with which they handle their subject matter, and their respect for their intended audience.
A foreword by Jed H. Davis, an introduction and summary paragraphs for each play by Jennings and Berghammer, and a lengthy annotated list of suggested plays for further reading or viewing make this volume extremely useful both for directors of children's theatre and for teachers.
The New Generation Play Project was a daring experiment in American children's theatre. Begun in 1989 by a consortium that included the Seattle Children's Theatre, The Children's Theatre Company of Minneapolis, Stage One: The Louisville Children's Theatre, and the Honolulu Theatre for Youth, the NGPP raised half a million dollars to commission major American dramatists to create new works for young people and to produce these plays over a several-year period.
This book provides the full text of the plays produced through the NGPP:
- Constance Congdon, Beauty and the Beast
- Velina Hasu Houston, Hula Heart
- Tina Howe, East of the Sun and West of the Moon
- Len Jenkin, The Invisible Man
- Mark Medoff, Kringle's Window
- Eric Overmyer, Duke Kahanamoku vs. The Surfnappers
- Michael Weller, Dogbrain
- Y York, The Witch of Blackbird Pond
In his introduction, Coleman Jennings describes the work of the NGPP, some of the controversies surrounding its selection of playwrights who do not ordinarily write for young audiences, as well as the playwrights' reactions to the project, and the critical reception of the plays. Suzan Zeder, one of the nation's leading playwrights for family audiences, supplies the foreword.
Combining the histories of empire, leisure, tourism, culture, and medicine, Eric T. Jennings sheds new light on the workings of empire by examining the rationale and practice of French colonial hydrotherapy between 1830 and 1962. He traces colonial acclimatization theory and the development of a “science” of hydrotherapy appropriate to colonial spaces, and he chronicles and compares the histories of spas in several French colonies—Guadeloupe, Madagascar, Tunisia, and Réunion—and in France itself. Throughout Curing the Colonizers, Jennings illuminates the relationship between indigenous and French colonial therapeutic knowledge as well as the ultimate failure of the spas to make colonialism physically or morally safe for the French.
In the early years of World War II, thousands of political refugees traveled from France to Vichy-controlled Martinique in the French Caribbean, en route to what they hoped would be safer shores in North, Central, and South America. While awaiting transfer from the colony, the exiles formed influential ties—with one another and with local black dissidents. Escape from Vichy recounts this flight from the refugees’ perspectives, using novels, unpublished diaries, archives, memoirs, artwork, and other materials to explore the unlikely encounters that fueled an anti-fascist artistic and intellectual movement.
The refugees included Spanish Republicans, anti-Nazi Germans and Austrians, anti-fascist Italians, Jews from across Europe, and others fleeing violence and repression. They were met with hostility by the Vichy government and rejection by the nations where they hoped to settle. Martinique, however, provided a site propitious for creative ferment, where the revolutionary Victor Serge conversed with the anthropologist Claude Lévi-Strauss, and the Surrealist André Breton met Negritude thinkers René Ménil and Aimé and Suzanne Césaire. As Eric T. Jennings shows, these interactions gave rise to a rich current of thought celebrating blackness and rejecting racism.
What began as expulsion became a kind of rescue, cut short by Washington’s fears that wolves might be posing in sheep’s clothing.
Carry the Rock tells the story of the dramatic ups and downs of a high school football season and reveals a city struggling with its legacy of racial discrimination and the complex issues of contemporary segregation. In the season Jennings masterfully chronicles, Cox finds his ideas sorely tested in his attempts to unify the team, and the result is an account brimming with humor, compassion, frustration, and honesty. What Friday Night Lights did for small-town Texas, Carry the Rock does for the urban South and for any place like Little Rock where sports, race, and community intersect.
A revelatory intellectual biography of Tocqueville, told through his wide-ranging travels—most of them, aside from his journey to America, barely known.
It might be the most famous journey in the history of political thought: in 1831, Alexis de Tocqueville sailed from France to the United States, spent nine months touring and observing the political culture of the fledgling republic, and produced the classic Democracy in America.
But the United States was just one of the many places documented by the inveterate traveler. Jeremy Jennings follows Tocqueville’s voyages—by sailing ship, stagecoach, horseback, train, and foot—across Europe, North Africa, and of course North America. Along the way, Jennings reveals underappreciated aspects of Tocqueville’s character and sheds new light on the depth and range of his political and cultural commentary.
Despite recurrent ill health and ever-growing political responsibilities, Tocqueville never stopped moving or learning. He wanted to understand what made political communities tick, what elite and popular mores they rested on, and how they were adjusting to rapid social and economic change—the rise of democracy and the Industrial Revolution, to be sure, but also the expansion of empire and the emergence of socialism. He lauded the orderly, Catholic-dominated society of Quebec; presciently diagnosed the boisterous but dangerously chauvinistic politics of Germany; considered England the freest and most unequal place on Earth; deplored the poverty he saw in Ireland; and championed French colonial settlement in Algeria.
Drawing on correspondence, published writings, speeches, and the recollections of contemporaries, Travels with Tocqueville Beyond America is a panoramic combination of biography, history, and political theory that fully reflects the complex, restless mind at its center.
In 1956, Congress passed legislation that provided authorization and funds for emergency research to be conducted in Glen Canyon in response to the threat of losses posted by the construction of the Glen Canyon Dam in northern Arizona. For eight years, scientists worked against the clock to record the archaeology, geology, history, and paleontology of the region before the waters of Lake Powell covered the area.
In this highly interpretive summary, Jesse Jennings preserves the achievements of the salvage team and explains how the finds affected previous conclusions. Maps and photographs capture archaeological artifacts as well as the landscape of the area. This book also highlights the larger consequences of the massive salvage project — among them the stimulation of additional Southwest research, the applications of techniques made in response to emergency situations, and a valuable perspective on the Pueblo culture. Because this area is becoming increasingly controversial, with a raging debate over whether Lake Powell should be drained, Glen Canyon: An Archaeological Summary stands as more than a model of salvage archaeology. It is also a record and testament of the rich history of Glen Canyon.
For this book, fifteen distinguished historians were given a deceptively simple task: identify their choice for the worst military leader in history and then explain why theirs is the worst.
From the clueless Conrad von Hötzendorf and George A. Custer to the criminal Baron Roman F. von Ungern-Sternberg and the bungling Garnet Wolseley, this book presents a rogues’ gallery of military incompetents. Rather than merely rehashing biographical details, the contributors take an original and unconventional look at military leadership in a way that appeals to both specialists and general readers alike.
While there are plenty of books that analyze the keys to success, The Worst Military Leaders in History offers lessons of failure to avoid. In other words, this book is a “how-not-to” guide to leadership.
Tenahaha and the Wari State contains a series of essays that challenge current beliefs about the Wari state and suggest a reassessment of this pivotal era in Andean history. In this collection, a picture emerges of Wari power projected across the region’s rugged and formidable topography less as a conquering empire than as a source of ideas, styles, and material culture voluntarily adopted by neighboring peoples.
Much of the previous fieldwork on Wari history took place in the Wari heartland and in Wari strongholds, not areas where Wari power and influence were equivocal. In Tenahaha and the Wari State, editors Justin Jennings and Willy Yépez Álvarez set out to test whether current theories of the Wari state as a cohesive empire were accurate or simply reflective of the bias inherent in studying Wari culture in its most concentrated centers. The essays in this collection examine instead life in the Cotahuasi Valley, an area into which Wari influence expanded during the Middle Horizon period.
Drawing on ten years of exhaustive field work both at the ceremonial site of Tenahaha and in the surrounding valley, Jennings and Yépez Álvarez posit that Cotahuasinos at Tenahaha had little contact with the Wari state. Their excavations and survey in the area tell the story of a region in flux rather than of a people conquered by Wari. In a time of uncertainty, they adopted Wari ideas and culture as ways to cope with change.
Drawing upon racialized, national practices implemented prior to and during the twentieth century, each of the essays enlists literature or performance to reflect the sociopolitical imperatives that secured whiteness in the respective locations they study. They range from examinations of whiteness in the literature of Appalachia and contemporary Argentinean poetry to an analysis of performances memorializing the colonial experience in Italy and an exploration into the white rap music of Eminem and contemporary multiracial passing.
As the contributors show, literary and performance representations have the power to chronicle histories that reflect the behaviors and lived realities of our selves. Whether whiteness, in addition to its physical manifestation, presents itself as identity, symbol, racism, culture, social formation, political imposition, legal imposition, or pathology, it has been outed into the visible, even in national spaces where the term “whiteness” has yet to be translated and entered into the official lexicon.
The ten essays collected here provide powerful insights into where and how the race for biological and genealogical whiteness persists in various geopolitical realms and the ways in which Nordic whites, as well as ethnic whites and nonwhites, resecure its ascendance.
La Vinia Delois Jennings is professor of English at the University of Tennessee, Knoxville. Her recent critical study Toni Morrison and the Idea of Africa won the 2008 Toni Morrison Society Prize for Best Single-Authored Book on the Nobel laureate and Pulitzer-Prize winning author.
Zora Neale Hurston wrote her most famous novel, Their Eyes Were Watching God, while in Haiti on a trip funded by a Guggenheim fellowship to research the region’s transatlantic folk and religious culture; this work grounded what would become her ethnography Tell My Horse: Voodoo and Life in Haiti and Jamaica. The essays in Zora Neale Hurston, Haiti, and “Their Eyes Were Watching God” persuasively demonstrate that Hurston’s study of Haitian Voudoun informed the characterization, plotting, symbolism, and theme of her novel. Much in the way that Voudoun and its North American derivative Voodoo are syncretic religions, Hurston’s fiction enacts a syncretic, performative practice of reference, freely drawing upon Greco-Roman, Judeo-Christian, and Haitian Voudoun mythologies for its political, aesthetic, and philosophical underpinnings. Zora Neale Hurston, Haiti, and “Their Eyes Were Watching God” connects Hurston’s work more firmly to the cultural and religious flows of the African diaspora and to the literary practice by twentieth-century American writers of subscripting in their fictional texts symbols and beliefs drawn from West and Central African religions.
From the early 1500s to the mid-1700s, the American Southeast was the scene of continuous
tumult as European powers vied for dominance in the region while waging war on Native American communities. Yet even before Hernando de Soto landed his expeditionary
force on the Gulf shores of Florida, Native Americans had created their own “cultures of violence”: sets of ideas about when it was appropriate to use violence and what sorts of violence were appropriate to a given situation.
In New Worlds of Violence, Matthew Jennings offers a persuasive new framework for understanding the European–Native American contact period and the conflicts among indigenous peoples that preceded it. This pioneering approach posits that every group present in the Southeast had its own ideas about the use of violence and that these ideas changed over time as they collided with one another. The book starts with the Mississippian era and continues through the successive Spanish and English invasions of the Native South. Jennings argues that the English conquered the Southeast because they were able to force everyone else to adapt to their culture of violence, which, of course, changed over time as well. By 1740, a peculiarly Anglo-American culture of violence was in place that would profoundly influence the expansion of England’s colonies and the eventual southern United States. While Native and African violence were present in this world, they moved in circles defined by the English.
New Worlds of Violence concludes by pointing out that long-lasting violence bears long-lasting consequences. An important contribution to the growing body of work on the early Southeast, this book will significantly broaden readers’ understanding of America’s violent past.
Matthew Jennings is an assistant professor of history at Macon State College in Macon, Georgia. He is the author of “Violence in a Shattered World” in Mapping the Shatter Zone: The European Invasion and the Transformation of the Mississippian World, edited by Robbie Ethridge and Sheri Shuck-Hall. His work has also appeared in The Uniting States, The South Carolina Encyclopedia, A Multicultural History of the United States, and The Encyclopedia of Native American History.
An in-depth assessment of innovations in military information technology informs hypothetical outcomes for artificial intelligence adaptations
In the coming decades, artificial intelligence (AI) could revolutionize the way humans wage war. The military organizations that best innovate and adapt to this AI revolution will likely gain significant advantages over their rivals. To this end, great powers such as the United States, China, and Russia are already investing in novel sensing, reasoning, and learning technologies that will alter how militaries plan and fight. The resulting transformation could fundamentally change the character of war.
In Information in War, Benjamin Jensen, Christopher Whyte, and Scott Cuomo provide a deeper understanding of the AI revolution by exploring the relationship between information, organizational dynamics, and military power. The authors analyze how militaries adjust to new information communication technology historically to identify opportunities, risks, and obstacles that will almost certainly confront modern defense organizations as they pursue AI pathways to the future. Information in War builds on these historical cases to frame four alternative future scenarios exploring what the AI revolution could look like in the US military by 2040.
The four types of equality have their origins in unique political compromises made in the twentieth century. The resulting social market economies of these countries affect their growth and levels of equality even today.
Contributors draw on theories of identity, rhetorical third space, and linguistics to articulate a praxis of just teaching. They describe existing institutional challenges and opportunities that foster equity and offer cautionary tales of educational systems dismantled for short-term economic and political gains. Two-year college writing studies—when properly resourced—holds the potential to foster (or undermine) democratic ideals of civic literacy and uplift. Chapters in this volume offer case study examples of changes in departmental practices for reflection, interaction, and assessment that empower faculty to break free and engage directly with institutional, regional, state, and national constraints.
By making these resilient practices visible, Two-Year College Writing Studies amplifies the voices and validates the experiences of instructors engaging in this work. It will serve generalists, specialists, and academics interested in the subdiscipline of student success pedagogies and the political histories of two-year colleges and be useful for instructors new to the field, as professional development for veteran instructors, and as an introduction for graduate students entering two-year college writing studies programs.
This is the first study of Mendoza, the importance of whose position as Ambassador to France from 1584 to 1591--crucial in the liaison between Philip II and the French Catholic League--was long recognized but not explored. A religious zealot and military crusader who carried his uncompromising attitude into his diplomatic career, Mendoza made the connections between his master Philip and the French Catholic League much more intimate and functional than was previously suspected. In the spring of 1588, for instance, Mendozamanipulated the League and the Duke of Guise into a position of open rebellion against the King of France, thus ensuring that the Armada could sail for England without the danger of French harassment along the channel coast, and also that there would be no threat of French occupation of the Spanish Netherlands when Parma's troops should embark for the invasion of England.
Throughout the book, Spanish policies and techniques and their influence on international affairs are exemplified as they were not before. Showing how Continental diplomacy was dominated by religious zeal in the late sixteenth century, and how the fanaticism of the French religious wars formed a prelude to a reaction toward political absolutism, Jensen draws on a fund of untapped manuscript and printed sources, including Mendoza's coded letters, some of which he was the first to decipher.
Based on an ethnographic study spanning four years, George H. Jensen’s Storytelling in Alcoholics Anonymous: A Rhetorical Analysis calls upon Bakhtinian theory to analyze storytelling in AA.
Jensen introduces his study with an analysis of “Bill W.’s Story” as it appears in the first chapter of AA’s central text, Alcoholics Anonymous. Drawing on Walter Ong’s work on orality and literacy, he argues that “Bill W.’s Story” as it appears in print cannot fully capture the oral tradition of storytelling as it occurs in AA meetings.
In his first section, Jensen discusses storytelling as practiced by the Washingtonians, a temperance organization much like AA. He also discusses the influence of the Oxford Group’s (an international and interdenominational religious movement seeking to recapture the enthusiasm and dedication of first-century Christianity) spiritual program to the development of AA’s Twelve Steps. The remainder of the first section serves as an introduction of the culture of AA to outsiders.
In the second section, Jensen covers Bakhtin’s theory of the relationship between the author and the hero of a text, using Lillian Roth’s autobiographies as counterexamples of AA talks. He devotes an entire chapter in this section to explaining how AA meetings provide an example of what Bakhtin meant by carnival, a process through which humor, irony, and parody supply a mechanism for questioning commonly held beliefs. He shows how newcomers to AA move away from their egocentric personae as practicing alcoholics to adopt a new identity within AA. Drawing further on Bakhtin, he examines the autobiographical moments of AA talks, stressing that these moments never become fully autobiographical. AA talks, Jensen argues, are fragmented, yet achieve coherence through the interweaving of two important chronotopes. Finally, using Bakhtin’s discussion of heroes in autobiography, Jensen discusses the kinds of heroes one typically finds in AA talks.
A Glossary of John Dryden's Critical Terms was first published in 1969. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Although John Dryden is, as Samuel Johnson described him, the father of modern criticism, his critical writings are difficult for twentieth-century readers to understand and appreciate. Part of the problem lies in the fact that many of the critical terms which Dryden used have changed or expanded in meaning since his time. By providing a series of glosses of seventeenth-century critical terms, this volume clarifies and illuminates Dryden's work for modern readers and scholars.
Professor Jensen has catalogued every important word that Dryden used in discussing critical matters, whether about art, literature, or music. In addition to covering all of Dryden's works, the glossary encompasses works of other important seventeenth century critics, among them, John Milton, Ben Johnson, and Thomas Rymer.
The structure of the glossary is simple: under each word there is a general definition and, if needed, an essay on the word's origin, history, and general usage. Then the various particular meanings of the word are given, and under each definition are listed the critics, the works, the editions, and the page numbers where the word is used with that particular meaning. Selected quotations abound, substantiating the text.
The book will be useful for students and teachers in seventeenth and eighteenth-century literature courses and for scholars doing advanced research. Students will gain an understanding of the development of critical though by reading the essays in the Glossary. Modern scholars of Restoration literature will find new ideas here as well as confirmation of some older conjectures about Dryden.
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